Review: Following DJ Nobu and Wata Igarashi, Iizuka is the latest techno producer to emerge from Japan- and Inside is his third release of 2018. The title track is a linear, tracky affair that will appeal to fans of Robert Hood and James Ruskin, its metallic rhythm building gradually over its duration. By contrast, "HH2" is far more abrasive and is reminiscent of DJ Shufflemaster in full-on mode as a slamming, slightly distorted rhythm provides he back drop for scratches, spin-backs and some doom chord stabs. Self Reflektion has also commissioned remixes from Endlec: on his first take of "HH2", the Greek producer drops a searing, banging workout, featuring screeching analogue stabs. The second take is just as intense, but on this occasion, Endlec uses rolling snares, pounding kicks and insane chord builds to hammer home his message.
Review: Hiroaki Iizuka starts this EP with the insane tempos of the title track. Sounding like Woody McBride jacked up on angel dust, Blue Box was probably made on analogue equipment, something that becomes apparent as the unpredictable sequencing gives way to wild acid lines. By contrast, "VC7" very much defines measured, controlled precision; based on broken beats and steely drums, its robotic swing is as impressive as the hard-sequencing unpredictability of Blue Box. However, the most impressive track here is label owner Exium's remix of "VC7". Moving from relentless broken beats into dark, metallic rhythms, its analogue percussive licks mean that the Spanish producer has adeptly united the best of both worlds.
Review: The latest split release on Ben Sims' label features some new names alongside a well-known Theory associate. Mark Williams has been putting out club techno for over 15 years, and on "Journey Man", he displays his ability for crafting well-constructed tracks. Based on a lithe, rolling rhythm, the UK producer weaves in eerie synths and looped chord sequences. It's radically different from Japanese producer Hiroaki Iizuka's contribution. "Superstition" resounds to a walking funk bass, chopped up vocals scattered amid dubby filters and cavernous drums. Meanwhile, his fellow countryman Kazu Kimura opts for a more intense approach with the tweaked bass intensity of "Flash".